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THE  SPANISH  SCHOOL 


Loan  Collection 


The  Copley  Society  of  Boston 

Copley  Hall.  March,  1912 


THE  SPANISH  SCHOOL. 


The  art  of  Spain  has  a grim  splendor  and  a stately 
dignity  which  seldom  descends  to  the  trivial,  and  a 
pride  of  bearing,  apparent  even  when  the  subject  is 
commonplace,  associated  with  a directness  of  expres- 
sion that  disdains  petty  mannerisms.  At  the  time 
when  elsewhere  in  Europe  the  art  of  painting  was  fast 
becoming  bound  with  conventions  of  technique  and 
subject,  the  Spanish  masters  worked  with  freedom 
and  with  sincere  study  of  realities.  Early  inspired 
by  the  Italians,  even  the  primitive  masters  in  Spain 
painted  with  a breadth  that  ignored  traditions,  and 
in  the  seventeenth  century  the  great  masters  of  Spain 
excelled  all  others  in  the  courage  of  their  work,  the 
force  of  their  composition,  the  depth  of  their  tones. 
Especially  have  they  been  masters  of  technique, — of  a 
dexterous  skill  with  the  brush  coincident  with  subtle 
and  keen  observation  and  the  power  of  direct  and 
simple  expression.  With  the  exception  of  Murillo, 
they  have  preferred  strength  to  sentiment,  even  at 
times  to  the  point  of  brutality.  Vigor  is  as  inherent 
in  the  work  of  Velazquez,  of  Ribera,  and  of  Zurbaran 
and  Goya,  as  it  is  in  the  Sibyls  of  Michel  Angelo, — 
vigor  which  is  sometimes  akin  to  bravura;  and  the 
modern  Spanish  painters  Zuloaga,  Sorolla  y Bastida, 
and  Villegas  have  similar  tendencies,  though  others, 


4 


such  as  Fortuny,  Zamacois,  and  Madrazo,  who  have 
been  influenced  by  study  in  Paris,  have  worked  with 
minute  detail  and  represented  subjects  of  greater 
vivacity.  Color,  at  times  morose,  often  gleams  with 
enhanced  splendor  in  contrast  to  sombre  backgrounds, 
and  comedy  flashes  from  the  midst  of  tragic  surround- 
ings. 

The  Spanish  masterpieces  impress  by  an  exposure  of 
the  subject  so  thorough,  so  frank,  with  so  great  a dis- 
dain for  amelioration,  that  the  effect  seems  often  cruel, 
and  at  the  same  time  there  is  so  subtle  a sense  of  values, 
so  great  a skill  in  portrayal,  that  the  graces  of  the  art 
seem  to  be  unnecessary  and  out  of  place.  Grim  and 
sardonic,  vigorous  and  splendid,  with  truth,  arrogant 
in  manner  and  in  color,  and  with  great  dignity,  the  art 
of  Spain  is  distinctive. 


PAINTINGS 


At  the  end  of  the  catalogue  will  be  found  short  notes, 
referring  to  the  different  schools  and  the  artists  repre- 
sented. 


1.— PORTRAIT  DU  GiilNftlRAL  X 

GOYA  Y LUCIENTES,  Francisco  Josti  de 
(1746-1828) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 


2. — OLD  MAN  WITH  STAFF 

ZURBARAN,  Francisco  (1598-1662) 
Lent  by  Mrs.  William  C.  Endicott 

3.  — ANGEL  WITH  CROWN 

ESPINOSA,  Jacinto  Geronimo  de  (1600-1680) 
Lent  by  the  Ehrich  Galleries , New  York 


4.— MADONNA 

MURILLO,  Bartolomeo  Esteban  (1618-1682) 
Lent  by  Miss  Fanny  P.  Mason 


6 


5.— NUNC  DIMITIS 

RIBERA,  Jose  (II  Spagnoletto)  (1588-1656) 
Lent  by  Mr.  Robert  C.  Lowry 


6.— A BEGGAR  BOY 

ANTOLINEZ  Y SARABIA,  Francisco 
(1644-1700) 

Lent  by  the  Ehrich  Galleries,  New  York 


7. — FLIGHT  INTO  EGYPT 

COLLANTES,  Francisco  (1599-1666) 
Lent  by  Mr.  George  A.  Hearn,  New  York 

8. — PORTRAIT  OF  THE  INFANTA  ISABELLA 

CLARA  EUGENIA,  GOVERNESS  OF  THE 
LOW  COUNTRIES 

DE  LA  CRUZ  PANTOJA,  Juan  (1623) 
From  Blenheim  Palace  Collection 
Lent  by  Messrs.  R.  C.  & N.  M.  Vose 


9.— THE  GAME,  “LA  MAIN  CHAUDE” 

HERRERA,  the  Younger 
From  Collection  of  Senator  Maurice  Colin,  Algiers 
Lent  by  Dr.  Paul  Mersch,  Paris,  France 


7 


10. — A SAINT  OF  SEVILLE 

ZURBARAN,  Francisco  (1598-1662) 
Lent  by  the  Ehrich  Galleries , New  York 

11. — MARIA  LUISA  OF  PARMA,  QUEEN  OF 

CHARLES  IV  OF  SPAIN 
GOYA  Y LUCIENTES,  Francisco  Jos£  de 
(1746-1828) 

Lent  by  the  Ehrich  Galleries , New  York 

12— THE  ANNUNCIATION 

ESCALANTE,  Juan  Antonio  (1630-1670) 
(Signed,  1653) 

From  Collection  of  F.  Pasqual,  Madrid 
Lent  by  the  Ehrich  Galleries,  New  York 

13.  — “THE  GIRL  IN  RED” 

(Portrait  of  a young  Spanish  noblewoman) 
COELLO,  Alonzo  Sanchez  (1513-1590) 
Lent  by  Mrs.  Philip  Lydig,  New  York 

14. — ST.  STEPHEN 

MURILLO,  Bartolomeo  Esteban  (1618-1682) 
Lent  by  the  Ehrich  Galleries,  New  York 


8 


15— CARDINAL  ZUIROGA 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Mr.  Henry  C.  Frick,  New  York 


16.— ST.  IGNATIUS  DE  LOYOLA 

ZURBARAN,  Francisco  (1598-1662) 
Lent  by  the  Ehrich  Galleries,  New  York 


17.— EL  ESPOLIO 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Messrs.  Eugene  Glaenzer  & Co., 
New  York 


18.— ISABELLA  CLARA  EUGENIA,  INFANTA 
OF  SPAIN,  WIFE  OF  THE  ARCHDUKE 
OF  AUSTRIA 

COELLO,  Alonzo  Sanchez  (1513-1590) 
From  Collection  of  Count  Lomellini,  Genoa 
Lent  by  the  Ehrich  Galleries,  New  York 


9 


19. — PORTRAIT  OF  A VENETIAN  OFFICER 

Attributed  to  Velazquez 

From  the  Collection  of  the  Gratanego  Family, 
Venice 

Lent  by  the  Ehrich  Galleries , New  York 

20. — HEAD  OF  CHRIST 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Mrs.  Frank  Gair  Maeomber 

21. — THE  DESCENT  FROM  THE  CROSS 

TRISTAN,  Luis  (1586-1640) 
Lent  by  the  Ehrich  Galleries , New  York 

22. — PORTRAIT 

RIZI,  Juan  (1595-1675)  Dated  1623 
(Known  as  Fray  Juan  Rizi) 
From  the  Stanford  White  Collection 
Anonymous 

23. — PORTRAIT  OF  A MONK 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

From  Collection  of  Don  Pablo  Bosch,  Madrid 
Lent  by  the  Ehrich  Galleries , New  York 


10 


24.— CAPRICE  (Water  Color) 

GOYA  Y LUCIENTES,  Francisco  Jos£  de 
(1746-1828) 

From  the  Duke  d’Ossuna  Collection 
From  the  Dupuy  de  Lome  Collection 
Anonymous 

25— PORTRAIT  OF  A LADY 

GOYA  Y LUCIENTES,  Francisco  Jos£  de 
(1746-1828) 

Lent  by  Mr.  Leon  Hirsch,  New  York 

26.  — L’ ANN  ON  Cl  ATION 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 

27. — A SAINT 

PEREDA,  Antonio  (1599-1669) 
Anonymous 

28 —EQUESTRIAN  PORTRAIT  OF  THE  DUKE 
OF  OLIVARES  (School  of  Velazquez) 

Lent  by  Mr.  J.  T.  Coolidge,  Jr. 


I 


29.— ST.  PETER  HOLDING  BOOK 

RIBERA,  Jusepe  de  (1588-1656) 
Bought  in  1853  at  the  sale  of  Louis  Philippe, 
King  of  France. 

Lent  by  Mr.  Charles  A.  Walker 


30.— THE  PHILOSOPHER 

(School  of  Ribera) 

Lent  by  Messrs.  R.  C.  & N.  M.  Vose 


31.— ST.  FRANCIS  OF  ASSISI 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

From  Collection  of  Baron  Grandherr,  Munich 
Lent  by  the  Ehrich  Galleries , New  York 


32.— CAPRICE  (Water  Color) 

GOYA  Y LUCIENTES,  Francisco  Jos6  de 
(1746-1828) 


From  the  Duke  d’Ossuna  Collection 
From  the  Dupuy  de  Lome  Collection 
Anonymous 


12 


33.— PORTRAIT  OF  A WOMAN 

Artist  Unknown  (School  of  Seville) 
Lent  by  Mr.  E.  S.  Mansfield 


34. — THE  LUTE  PLAYER 

Attributed  to  Velazquez 
Lent  by  Mr.  E.  S.  Mansfield 

35. — HEAD  OF  ST.  CATHERINE 

ZURBARAN,  Francisco  (1598-1662) 
Lent  by  Mr.  Alphonse  Jongers,  New  York 


36. — MONK 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Mrs.  Philip  Lydig,  New  York 

37. — ST.  JOHN 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Mr.  E.  S.  Mansfield 

38. — CONSUMATUM  EST 

ARANDA,  Jose  Jimenez  (1837-1903) 
Lent  by  the  Hispanic  Society  of  America,  New  York 


13 


39.— DON  JOHN  OF  AUSTRIA 

CARREftO,  Juan  de  Miranda 
Lent  by  Mr.  Arthur  Astor  Carey 


40.— SKETCH 

GOYA  Y LUCIENTES,  Francisco  Jos£  de 
(1746-1828) 

Lent  by  Mr.  Horatio  G.  Curtis 


41.— PORTRAIT  OF  DON  FRAY  MIGUEL 
FERNANDEZ 

GOYA  Y LUCIENTES,  Francisco  Jose  de 
(1746-1828) 

Lent  by  the  Worcester  Art  Museum,  Worcester 


42. — ST.  JEROME 

RIBERA,  Jose  de  (1588-1656) 
(Signed  Jusepe  de  Ribera  es  panol  F 1642) 
Lent  by  Mrs.  Frank  Gair  Macomber 

43. — A SPANISH  NOBLEMAN 

MORO,  Antonio  (1512-1588) 
Lent  by  Mr.  Arthur  D.  Little 


14 


44— PORTRAIT  OF  A SPANIARD  OF  BRUGES 
MORO,  Antonio  (1512-1588) 
Lent  by  Mrs.  Philip  Lydig,  New  York 

45.— A SAINT 

ZURBARAN,  Francisco  (1598-1662) 
Anonymous 


46.— TEMPTATION 

MURILLO,  Bartolomeo  Esteban  (1618-1682) 
Lent  by  Mr.  E.  S.  Mansfield 

47—  PORTRAIT  OF  THE  ARTIST 

ANTOLINEZ,  Jose  (1639-1676) 
Lent  by  the  Ehrich  Galleries,  New  York 

48.— LTNFANTE  IS  ABEL  LE-C  LAI  RE-EU- 
GENIE, DAUGHTER  OF  PHILIP  II, 
ARCHDUCHESS  ISABELLA,  REGENT 
OF  THE  NETHERLANDS 
This  princess  was  the  daughter  of  Philip  II 
of  Spain,  and  married  the  Archduke  Albert, 
and  was  the  Regent  of  the  Netherlands  and 
the  patron  of  Peter  Paul  Rubens. 

SANCHEZ-COELLO,  Alonzo  (1515-1590) 
Lent  by  Mr.  George  A.  Hearn,  New  York 


i5 


49.— PORTRAIT  OF  A WOMAN 

(Spanish  School.)  Possibly  by  Velazquez 
Lent  by  Mr.  Frank  Duveneck , Covington , Ky. 


50.— PHILIP  IV  OF  SPAIN 

VELAZQUEZ,  Diego  Rodriguez  de  Silva  t 
(1599-1660) 

Lent  by  Museum  of  Fine  Arts , Boston 


51. — LA  MARQUISE  DE  SAN  ANDRES 

GOYA  Y LUCIENTES,  Francisco  Jose  de 
(1746-1828) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 

52.  — “COUNT  ORGOZ” 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Mr.  Robert  Shaw  Minturn,  New  York 

53. — A BEGGAR 

GOMEZ,  Sebastien  (1646-1682) 
Lent  by  the  Ehrich  Galleries,  New  York 


i6 


54.— QUEEN  MARIANE  OF  AUSTRIA 

DEL  MAZO 

Lent  by  Messrs.  E.  Gimpel  & Wildenstein, 
New  York 


55.— THE  NATIVITY 

MURILLO,  Bartolomeo  Esteban  (1618-1682) 
From  the  Collection  of  Baron  Tetada,  Seville 
Lent  by  Mr.  T.  B.  Walker,  Minneapolis,  Minn. 


56.— A SAINT 

RIBERA,  Jusepe  (1588-1656) 
From  Collection  of  Lord  Ashburton 
Lent  by  the  Ehrich  Galleries,  New  York 


57.— FEMME  EN  BONNET  BLANC 

MORO,  Antonio  (1512-1588) 
Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 


58.— PORTRAIT  OF  A SPANISH  WOMAN  OF 
BRUGES 

MORO,  Antonio  (1512-1588) 


Lent  by  Mrs.  Philip  Lydig,  New  York 


7 


59. — JUAN  MANUEL  ALVAREZ  DE  FARIA 

GOYA  Y LUCIENTES,  Francisco  Jos£  de 
(1746-1828) 

Lent  by  Mr.  George  A.  Hearn , New  York 

60. — THE  MAGDALENE 

MURILLO,  Bartolomeo  Esteban  (1618-1682) 
This  picture  was  engraved  by  Raphael 
Morghen,  1801- 

Lent  by  Mr.  William  Skinner , New  York 

61. — ST.  JEROME 

RIBERA,  Jusepe  de  (1588-1656) 

Lent  by  Mr.  E.  S.  Mansfield 

62. — PORTRAIT  OF  A GENTLEMAN 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Lent  by  Dr.  John  E.  Stillwell , New  York 

63. — PORTRAIT 

DEL  MAZO  MARTINEZ,  Juan  Bautista 
(1612-1667) 

From  the  Collection  of  Marcel  von  Nemes, 
Budapest,  Hungary 
Anonymous 


i8 


64.— PORTRAIT  OF  AN  ARCHITECT 

RIBERA,  Jusepe  de  (1588-1656) 
Lent  by  Dr.  John  E.  Stillwell,  New  York 


65. — SKETCH  OF  A MAN  AND  GIRL 

Artist  Unknown 
Lent  by  the  Ehrich  Galleries,  New  York 

66. — ANGEL  WITH  FLOWERS 

ESPINOSA,  Jacinto  Geronimo  de  (1600-1680) 
Lent  by  the  Ehrich  Galleries,  New  York 

67. — PORTRAIT  OF  THE  ARTIST 

MURILLO,  Bartolomeo  Esteban  (1618-1682) 
Lent  by  Mr.  Henry  C.  Frick,  New  York 

68. — PORTRAIT  DTSIDORO  MAIQUEZ,  Com6- 

dien 

GOYA  Y LUCIENTES,  Francisco  Jose  de 
(1746-1828) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 


19 


69 —MADONNA  AND  CHILD 

MORALES,  Luis  de  (1509-1586) 
Lent  by  the  Ehrich  Galleries , New  York 


70.— QUEEN  MARIANA 

CARRENO,  Juan  de  Miranda 
From  the  Duke  d’Ossuna  Collection 
From  the  Jesuits’  College  of  Madrid 
Lent  by  Mrs.  Frank  Gair  Macomber 


71.— HEAD 

DE  MORALES,  LUIS  (1509-1586) 
Attributed 

Lent  by  Messrs.  R.  C.  & N.  M.  Vose 


72. — PORTRAIT  OF  A LADY 

GOYA  Y LUCIENTES,  Francisco  Jose  de 
(1746-1828) 

Lent  by  Lady  Drummond,  Montreal 

73. — “PEPE-ILLO,”  BULL-FIGHTER 

GOYA  Y LUCIENTES,  Francisco  Jose  de 
(1746-1828) 

Lent  by  Lady  Drummond,  Montreal 


20 


74.— COURSE  DE  TAUREAUX 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 


75.— THE  TWO  SISTERS 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  the  Art  Institute  of  Chicago 


76.— INTERIOR  OF  TOBACCO  FACTORY,  SE- 
VILLE 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Mr.  Desmond  FitzGerald 


77. —  MA  COUSINE 

ZULOAGA,  Ignacio  (Contemporaiy) 
Lent  by  Mr.  George  R.  Fearing,  Jr. 

78.  — BALCONY  SCENE 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(C  ontemporary) 

Lent  by  Mrs.  Frank  Gave  Macomber 


2 


79.— DANS  LES  COULISSES 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 


80.— A MATEADOR 

MESQUITA,  F.  L. 

Lent  by  Messrs.  R.  C.  & N.  M.  Vose 


81.— AFTER  THE  BATH 

SOROLLA  Y BASTIDA,  JoaquIn.  1863- 
(Contemporary) 

Lent  by  the  Hispanic  Society  of  America,  New  York 


82.— LA  CHUTE  DU  PICARDO,  SEVILLE 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Mr.  Desmond  FitzGerald 


83.— THE  MILL  STREAM 

SANCHEZ-PERRIER  (Contemporary) 
Lent  by  Mrs.  Francis  L.  Coolidge 


22 


84.— A SPANISH  GYPSY 

MESQUITA,  F.  L. 

Lent  by  Messrs.  R.  C.  & N.  M.  Vose 


85.— A MOORISH  STREET 

FORTUNY  Y GARBO,  Mariano  Jose  Maria 
(1838-1874) 

Lent  by  Mrs.  Roland  C.  Lincoln 

86— LA  DANSE 

CANALS  Y LLAMBI,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Messrs.  Durand-Ruel  & Sons,  New  York 


87— Mrs.  IRA  NELSON  MORRIS  AND  CHIL- 
DREN 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  Mr.  Ira  Nelson  Morris,  Chicago 


88.— BULL-FIGHT  IN  A PUBLIC  SQUARE 
GOYA  Y LUCIENTES,  Francisco  Jose  de 
(1746-1828) 

Lent  by  Mr.  Victor  G.  Fischer,  New  York 


23 


89.— SAN  ILDEFONSO 

EL  GRECO  (Domenico  Theotocopuli) 
(1548-1625) 

Copied  and  Lent  by  Miss  Nelly  Harvey,  New  York 


90. — SPANISH  GYPSIES 

WSSEL,  Manuel  de  Guimbarda 
Lent  by  Miss  Ellen  M.  Shumway 

91. — HEAD  OF  A SPANISH  WOMAN  OF 

GRANADA 

RIBERA,  P.  (Contemporary) 
Lent  by  Mr.  Eben  D.  Jordan 


92.— WHITE  BIRCHES 

SANCHEZ-PERRIER  (Contemporary) 
Lent  by  Mrs.  David  Crocker 


93.— PORTRAIT  OF  Mrs.  EDWARD  SHEARSON 
MADRAZO  Y GARRETA,  Raimundo 
Lent  by  Mr.  Edward  Shearson,  New  York 


24 


94.— ALONG  THE  RIVER 

PERRIER,  Emilio  Sanchez  (Contemporary) 
Lent  by  Mr.  Eben  D.  Jordan 


95.— BEACH  OF  BIARRITZ 

SOROLLA  Y BASTIDA,  JoaquIn.  1863- 
(Contemporary) 

Lent  by  Mr.  George  S.  Keyes 


96.— BEACH  OF  VALENCIA  AND  FISHING- 
BOATS 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  Mr.  George  S.  Keyes 


97.— SENORA  DE  SOROLLA 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  the  Hispanic  Society  of  America,  New  York 


98.— THE  MARKET-PLACE 

ARANDA,  Jose  Jimenez  (1837-1903) 
Lent  by  Mr.  Eben  D.  Jordan 


25 


99.— LOCUTORIO 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  Mr.  William  P.  Blake 


100. — PLAZA  DE  VALENCIA 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  Mr.  William  P.  Blake 

101. — PORTRAIT  OF  Mrs.  THAYER 
MADRAZO  Y GARRETA,  Raimundo.  1841— 

(Contemporary) 

Lent  by  Estate  of  Nathaniel  Thayer 


102.— FISHING-BOATS  ON  BEACH,  VALENCIA 
SOROLLA  Y BASTIDA,  JoaquIn.  1863- 
(Contemporary) 

Lent  by  Mr.  George  S.  Keyes 


103.— INTERIOR  OF  A CABARET  (Pastel) 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Mr.  Frank  Gair  Macomber,  Jr. 


26 


104.— GARDEN  OF  VALENCIA 

SOROLLA  Y BASTIDA,  Joaquin.  1863- 
(Contemporary) 

Lent  by  Mr.  George  S.  Keyes 


105.— PORTRAIT  OF  Mr.  IRA  NELSON  MORRIS 
SOROLLA  Y BASTIDA,  Joaquin.  1863- 
Lent  by  Mr.  Ira  Nelson  Morris,  Chicago 


106.— PORTRAIT 

ZULOAGA,  Ignacio  (Contemporary) 
Lent  by  Mr.  George  R.  Fearing,  Jr. 


107.— MLLE.  BRfiVAL  IN  “CARMEN” 

ZULOAGA,  Ignacio.  1870- 
(Contemporary) 

Lent  by  the  Hispanic  Society  of  America,  New  York 


108.— DANCING  GIRL  (Pastel) 

CANALS  Y LLAMBl,  Ricardo.  1876- 
(Contemporary) 

Lent  by  Mr.  Desmond  FitzGerald 


27 


GOYA 

ETCHINGS  WITH  AQUATINT 

Goya  was  born  in  the  year  1746  at  Fuenta  de  Toda, 
a little  village  situated  in  the  province  of  Aragon,  at 
no  great  distance  from  Saragossa.  He  came  of  vig- 
orous country  stock:  his  people  had  lived  on  the  soil, 
and  had  drawn  health  and  strength  from  the  earth  for 
generations.  Goya’s  fundamental  characteristics  are 
his  vitality  and  common  sense.  Had  he  not  possessed 
these  in  unusual  measure,  he  would  have  ended  his 
life  in  the  mad-house,  whereas  he  retired  peacefully, 
after  having  been  court  painter  for  many  years,  and 
lived  to  a grand  old  age.  It  was  his  strong  common 
sense  which  enabled  him  to  keep  his  head  in  the  high- 
est places  and  under  the  most  alluring  temptations, 
to  which  a youth  can  be  exposed.  Had  it  not  been 
for  this  fund  of  common  sense,  he  could  never  have 
reflected  so  justly  and  so  profoundly  upon  his  experi- 
ence, and  drawn  from  it  the  material  for  his  sketches 
without  showing  something  of  a diseased  imagination. 
Goya  is  sane  at  the  bottom,  in  contradistinction  to 
Meryon,  who  was  mad.  Goya  looked  out  on  the  wrorld 
with  a firm  heart  and  an  honest  mind,  and  pictured 
the  dreadful  things  he  saw  with  a steady  hand.  He 
relates  the  actual  facts  of  human  existence  unblush- 
ingly,  and  asks:  “What  do  you  intend  to  do  about  a 
world  of  asses  and  villains?  You  must  live  with  them; 
but  will  you  submit  to  superstition  and  sink  deep 
into  the  slough  of  licentiousness?  Will  you  save 
yourself,  or  will  you  be  crushed  by  the  inexorable 


28 


doom  which,  like  a great  stone,  is  inclining  over  you?” 
See  plate  No.  59. 

Goya’s  irony  and  satire  are  of  the  most  trenchant 
and  most  bitter  kind,  but  they  spring  from  a sane 
point  of  view.  He  sees  the  evil  with  reference  to 
possibilities  of  good;  he  has  an  ideal  of  what  man 
should  be. 

The  story  of  Goya’s  life  is  of  adventures  as  thrill- 
ing as  Don  Juan’s,  and  his  reflections  on  life  are  really 
important.  The  prints  which  make  up  this  little 
exhibition  are  vivid  pictures  of  debased  human  nature. 
We  see  before  our  eyes  the  vile  abuses  to  which  the 
body  is  subjected.  We  behold  the  desecration  of 
the  soul  in  gross  forms  of  superstition.  But  Goya 
holds  firmly  to  the  belief  that,  when  men  come  to  use 
their  reason,  they  will  feel  an  honest  indignation  rise 
up  in  their  hearts  and  will  revolt  against  the  vices 
which  destroy  the  human  race.  Witchcraft  and 
wickedness  are  brought  by  Goya’s  art  into  the  strong 
light  of  day  in  the  hope  of  reformation. 

The  earliest  etchings  of  Goya  are  plates  after  Velaz- 
quez, about  sixteen  in  number,  one  of  which  is  ex- 
hibited,— “Philip  III  on  Horseback.” 

The  Caprices  are  eighty  in  number.  The  plates 
were  first  etched  and  afterwards  aquatint  was  added. 
Thirty  of  these  subjects  are  exhibited.  The  prints 
show  the  frank  brutality  of  Goya’s  nature.  His 
genius  reveals  itself  in  the  art,  with  which  he  has  made 
ugliness  expressive  of  vice.  We  feel  a nameless  terror 
as  we  look  at  these  prints  and  behold  the  horrible 
shapes  and  contorted  forms  into  which  the  human  will 
has  writhed  and  twisted  itself.  We  seem  to  see  the 


29 


depths  of  man’s  possible  fall.  Goya  turns  the  light 
of  reason  into  the  dark  caverns  of  superstition  and 
ignorance,  and  exposes  to  view  loathsome  hypocrisy, 
drivelling  imbecility  and  all  the  shams  of  humbug. 
His  achievement  may  be  likened  to  the  feat  of  Hercules 
in  cleaning  out  the  Augean  stables.  The  artist  has 
strong  nerves,  nor  do  the  coarse  fibres  of  his  nature 
give  way  to  the  terrific  strain  put  on  them.  It  is 
we  who  shiver  and  are  afraid,  not  Goya.  The  com- 
ments which  will  be  found  on  the  mat  of  each  print 
in  this  series  of  the  “ Caprices”  are  translations  of 
Goya’s  own. 

Unfortunately,  the  artist  has  left  no  commentaries 
for  the  Proverbs  or  Suefios  (dreams),  as  Goya  calls 
them.  Of  these  there  are  eighteen  plates,  seven  of 
which  are  exhibited.  The  meaning  of  these  '‘dreams,” 
or  nightmares,  is  darkly  hidden,  and  no  satisfactory 
explanation  that  I know  of  is  to  be  found. 

The  Bull-fights  speak  for  themselves.  They  were 
first  published  by  Goya  in  1815.  There  are  thirty- 
three  plates,  eight  of  which  are  exhibited.  Goya  made 
another  famous  series  of  etchings,  called  “Disasters 
of  War.”  None  of  these  plates  are  exhibited.  The 
subjects  are  gruesome  and  terrible.  A fine  set  of 
the  “Disasters  of  War”  will  be  found  in  the  Boston 
Museum  of  Fine  Arts. 

THIRTY  SUBJECTS  FROM  THE  CA- 
PRICES 

FOUR  SUBJECTS  FROM  THE  BULL- 
FIGHTS 


30 


SEVEN  SUBJECTS  FROM  THE  PROVERBS 

“PHILIP  III  ON  HORSEBACK” 

(Etching  after  Velasquez) 
Lent  by  Mr.  Francis  Bullard 


RIBERA 

TWO  ETCHINGS  BY  RIBERA 

Lent  by  Mr.  Francis  Bullard 


3i 


SPANISH  TILL 

ARMS  OF  CHRISTOPHER  COLUMBUS 

XVTH  CENTURY  DELLA  ROBBIA,  RONDINELLI 

JEREZ  DE  LA  FRENTERA 
CHARLES  V. 

FERDINAND  AND  ISABELLA 
MENDINACELLI 

Lent  by  Messrs.  H.  C.  Watson  & Co New  York 


32 


NOTES 


The  early  painters  in  Spain,  the  so-called  primitives, 
in  the  fifteenth  century  derived  their  inspiration  at 
first  from  Italy  and  later,  after  the  visit  of  Jan  Eyck 
to  Spain,  from  the  art  of  the  Netherlands,  but  in  the 
latter  part  of  the  sixteenth  century  the  Spanish  painters 
developed  distinctive  character.  In  Toledo  between 
1548  and  1625  the  Greek  Domenico  Theotocopuli, 
called  El  Greco,  painted  with  marked  individuality, 
and  was  followed  by  his  pupil,  Luis  Tristan. 

Valencian  School: 

In  the  northeast  at  Valencia  Juan  de  Juanes,  an 
admirer  of  the  Italians,  established  the  Valencian 
School,  and  was  succeeded  by  Ribalta  (died  1648), 
Espinosa,  1600-1680,  and  Jose  de  Ribera,  1588-1656. 


Sevillian  School: 

Early  in  the  seventeenth  century  the  Sevillian  School 
arose  under  Juan  de  Castillo  and  the  greater  master, 
Francisco  Pacheco,  whose  successors  were  Zurbaran, 
1598-1662,  Murillo,  1618-1682,  and  Alonzo  Cano, 
1601-1667. 


33 


School  of  Madrid: 

The  school  of  painters  in  Madrid,  destined  to  be  the 
greatest  of  all  the  schools  because  of  court  favor,  in 
addition  to  work  for  religious  orders  upon  which  the 
other  schools  were  mainly  dependent,  began  with  the 
establishment  of  the  court  at  Madrid  by  Philip  II 
in  1561,  and  lasted  through  the  reigns  of  Philip  II, 
Philip  III,  and  Philip  IV.  The  court  painters  nec- 
essarily devoted  most  of  their  time  to  portraiture,  and 
portraits  of  reigning  sovereigns  and  nobles  were  made 
by  them  for  every  town  and  city  in  Spain.  Por- 
traiture presupposes  realism,  which  was  in  accord  with 
the  tendencies  of  the  time. 

Philip  II  called  to  his  court  Antonio  Moro,  of 
Utrecht  (1512-1588),  who  had  been  court  painter  to 
Charles  V in  Flanders,  and  Moro,  though  at  first 
following  the  Flemish  manner,  soon  broadened  his 
individual  art  by  studying  the  Venetian  examples 
at  Madrid.  He  was  succeeded  by  his  pupil  Alonzo 
Sanchez  Coello  (died  1590),  and  he  in  his  turn  by 
Juan  Pantoja  de  la  Cruz  (1551-1610),  who  was  court 
painter  for  Philip  III.  During  the  reign  of  this  latter 
prince  there  was  a decadence  in  the  art  of  Spain,  but 
under  Philip  IV  there  occurred  the  greatest  epoch  of 
Spanish  art,  in  the  work  of  Velazquez,  his  son-in-law 
Mazo,  Fray  Juan  Rizi,  Don  Juan  Carreno,  and  Anto- 
linez. 

Then  ensues  a long  period  of  inaction  until,  in  the 
latter  part  of  the  eighteenth  century,  Goya  becomes 
pre-eminent. 

The  modern  Spanish  painters  have  learned  their  art 


34 


in  Paris,  and  are  influenced  by  the  French  masters, 
but  have  also  marked  individuality. 


MORALES,  LUIS  (called  II  Divino).  Born  at 
Badajoz,  1509;  died  1586.  Of  the  School  of 
Estramadura. 

His  work,  somewhat  archaic  in  manner,  and  showing 
the  influence  of  Leonardo  da  Vinci,  is  markedly  indi- 
vidual. 


EL  GRECO  (Domenico  Theotocopuli,  called  El 
Greco).  Born  in  Crete  about  1548;  died  1625. 

He  led  a secluded  life  in  Toledo,  where  he  painted 
with  strong  individuality.  His  work  expresses  his 
character,  vehement,  revolutionary,  and  often  ex- 
travagant. He  simulated  the  technique  of  Titian, 
under  whom  it  is  assumed  that  he  studied,  and  his  color- 
ing is  strongly  influenced  by  the  carmine  and  silver 
tones  of  Tintoretto.  His  work  has  spasmodic  vigor 
and  realism. 


TRISTAN,  LUIS.  Born  in  Toledo,  1594;  died 
1649. 

A pupil  of  El  Greco,  under  whom  he  gained  facility 
and  freedom  of  technique,  but  never  approached  El 
Greco’s  courage  and  audacity.  His  work  slightly 
influenced  Velazquez. 


35 


School  of  Valencia: 

ESPINOZA,  JACINTO  GERONIMO  DE.  Born 
in  Cocentagna  in  1600;  died  in  Valencia,  1680. 

Studied  under  Francesco  Ribalta  and  in  Italy.  His 
work,  of  which  there  is  much  in  the  churches  of 
Valencia,  shows  the  influence  of  the  Umbrian  School. 


RIBERA,  JOSfi  DE  (called  II  Spagnoletto). 
Born  at  Xativa  in  1588;  died  at  Naples,  1656. 

Began  his  studies  in  Valencia  under  Ribalta,  and 
later  went  to  Italy  and  was  influenced  by  Caravaggio. 
His  work  is  characterized  by  free  technique,  forcible 
and  expressive  modelling,  and  broad  light  and  shade. 
His  subjects,  sad  and  morose,  are  often  unpleasant, 
but  not  repulsive.  He  was  most  prolific  in  work  and 
painted  a vast  number  of  canvases. 


School  of  Seville: 

ZURBARAN,  FRANCISCO.  Born  at  Fuento  di 
Cantos,  1598;  died  Madrid,  1662. 

A pupil  of  Juan  di  Roelas  at  Seville,  where  are  to  be 
found  his  best  works.  His  art  was  one  of  great  no- 
bility and  simplicity,  vigorous,  decorative,  and  with 
masterly  drawing.  He  was  not  a great  colorist,  but 
was  especially  skilful  in  his  treatment  of  white  dra- 
peries and  of  the  heavy  folds  of  ample  robes. 


36 

MURILLO,  BARTOLOMfi  ESTEBAN.  Born  in 
Seville,  1617;  died  1682. 

A pupil  of  Juan  di  Castillo. 

One  of  the  best  known  of  the  Spanish  masters,  and 
popular  for  his  agreeeable  color,  the  sentiment  of  his 
work,  and  the  agreeable  quality  of  his  tone.  The 
characteristic  softening  of  one  color  into  another  and 
the  blending  of  contrasting  adjacent  tones  differen- 
tiate his  work  from  most  painters  of  his  time.  He  was 
evidently  influenced  bjr  Andrea  del  Sarto. 

He  founded  an  academy  of  art  in  Seville  in  1658. 

GOMEZ,  SEBASTIAN.  Died  1682. 

The  mulatto  slave  of  Murillo,  who  was  devoted  to 
his  master  and  copied  his  methods  so  well  that  some 
of  his  work  has  been  ascribed  to  Murillo. 

CANO,  ALONZO.  1601-1667. 

Painter,  sculptor,  architect,  pupil  of  Pacheco.  His 
work  resembles  that  of  Murillo,  with  whom  he  studied. 
He  was  more  of  a sculptor  than  a painter,  and  was 
strongly  classical  in  his  taste. 


School  of  Madrid: 

MORO,  ANTONIO.  Born  in  Utrecht,  1512;  died 
1588. 

His  early  work  was  influenced  by  the  Netherland 
masters.  He  became  portrait  painter  to  Charles  V 
in  Flanders,  and  went  to  the  court  of  Philip  II  in 


37 


Spain,  was  strongly  influenced  by  the  Titians  in  Madrid, 
painting  with  Venetian  splendor  combined  with 
Spanish  severity,  and  became  one  of  the  greatest  of 
portrait  painters. 


COELLO,  ALONZO  SANCHEZ.  Born  at  Beni- 
fayro;  died  at  Madrid,  1590. 

Pupil  of  Moro.  He  became  court  painter  to  Philip 
II.  His  work  is  painstaking,  correct  in  drawing  and 
strong  in  character. 


CRUZ,  JUAN  PANTOJA  DE  LA.  Born  at 
Madrid,  1551;  died  1610. 

Pupil  of  Coello.  Painted  for  Philip  II  and  Philip 
III. 

VELAZQUEZ,  DON  DIEGO.  Born  in  Seville, 
June  6,  1599;  died  1660. 

Pupil  of  Pacheco,  at  the  age  of  twelve,  and,  it  is  also 
thought,  was  influenced  by  Francisco  de  Herrera,  the 
Elder.  In  1625  Pacheco  introduced  him  to  the  court 
of  the  young  Philip  IV,  and  he  soon  became  court 
painter.  He  visited  Italy  in  1629  and  again  in  1649. 
His  work,  at  first  most  painstaking  in  literal  delinea- 
tion, faithful  representation,  and  sober  in  color,  be- 
comes in  his  later  manner  of  great  nobility,  and  full 
of  color,  especially  characteristic  and  unmistakable  for 
his  fine  harmonies  in  gray.  He  is  one  of  the  greatest 
of  all  masters  of  painting. 


38 


MAZO,  JUAN  MARTINEZ.  Born  1612;  died 
1667. 

Pupil  and  son-in-law  of  Velazquez,  an  admirable 
painter,  second  only  to  his  master,  whose  manner  he 
so  closely  follows  that  his  work  has  often  been  as- 
cribed to  Velazquez. 


PEREDA.  Born  1599  in  Valladolid;  died  1669. 

Pupil  of  Pedro  de  las  Cuevas,  noted  for  his  originality 
and  masterly  technique.  His  work  had  no  resem- 
blance to  the  School  of  Velazquez,  but  somewhat  re- 
sembled that  of  Ribera. 


RIZI,  FRAY  JUAN.  Born  in  Madrid,  1595;  died 
in  Rome,  1675. 

Son  of  Antonio  Rizi,  of  Bologna,  who  was  a pupil  of 
Zucchero. 

Juan  Rizi  was  a pupil  of  Fray  Juan  Bautista  Mayno, 
and  became  a Benedictine  monk  at  Monserrat,  1626; 
later  went  to  Rome  and  joined  the  monks  at  Monte 
Cassino.  He  painted  for  all  the  houses  of  his  order, 
and  was  a strong  realist,  exact  in  portraiture  and 
simple  in  technique.  He  founded  his  style  on  that 
of  Velazquez. 


COLLANTES,  FRANCISCO.  1599-1656. 

A pupil  of  Carducho,  who  painted  decorative 
pictures,  with  large  figures,  on  beautiful  color.  His 
work  was  influenced  by  Bassano. 


39 


CARREftO,  DON  JUAN  DE  MIRANDA. 
Born  1614;  died  1685. 

Educated  in  School  of  Pedro  de  las  Cuevas  and 
under  Bartolome  Roman.  Appointed  court  painter  by 
Philip  IV  about  1651.  He  made  many  portraits  of 
the  sovereigns,  especially  of  the  queen  mother.  His 
work  was  uneven  in  quality,  but  interesting  in  com- 
position. He  painted  many  subject  pictures. 


HERRERA,  FRANCISCO  DE,  EL  MOZO. 
Born  1622;  died  1685. 

The  son  of  Herrera  El  Viejo.  His  work  was  austere 
in  character. 


ANTOLINEZ,  JOSE.  Born  Seville,  1639:  died 
1676. 

A pupil  of  Francisco  Rizi.  While  himself  of  disa- 
greeable and  contemptible  personality,  his  work  had 
perfect  tone  and  fresh  color,  and  was  Titianesque 
in  quality;  and  his  historical  pieces  are  noted  for  their 
fine  landscape  backgrounds. 

ESCALANTE,  JUAN  ANTONIO.  Born  1630; 
died  Madrid,  1670. 

Pupil  of  Francisco  Rizi.  A remarkable  copyist,  who 
was  much  influenced  by  Tintoretto  in  his  own  work. 


ANTOLINEZ,  FRANCISCO  DE  SARABIA. 
1644-1700. 

Studied  at  same  time  law  and  painting.  In  1662 


40 


went  to  Madrid  and  abandoned  painting  for  a time,  but 
later  both  in  Seville  and  Madrid  was  obliged  to  paint 
for  a livelihood.  He  was  an  exquisite  artist,  who  did 
not  love  his  art.  His  works,  though  somewhat  in- 
correct, are  full  of  grace  and  elegance  and  with  coloring 
which  recalls  Murillo. 


GOYA  Y LUCIENTES,  FRANCISCO.  Born 
at  Fuente  di  Todos,  1746;  died  Bordeaux,  1828. 

Court  painter  to  Charles  IV.  A unique  and  original 
genius,  satirical  in  his  art,  with  keen  observation  and 
great  facility  of  expression.  Rebellious  against  con- 
ventions and  against  the  time  necessary  for  the  com- 
pletion of  a picture,  he  alternately  sketched  broadly 
and  finished  minutely  on  the  same  canvas. 

His  tones  are  low,  at  times  silvery,  and  sometimes 
with  lurid  warmth. 


MEZQUITA,  JOSfi  MARIA  LOPEZ.  Born  in 
Granada,  within  the  walls  of  the  Alhambra,  in  1883. 

Studied  first  under  Larrocha  and  the  Valencian, 
Cecilio  Pla  y Gallardo;  then  in  Madrid,  and  after- 
wards in  Paris  under  a scholarship  granted  by  the 
Infanta  Dona  Isabel  de  Borbon.  At  the  age  of  eigh- 
teen he  won  the  first  medal  at  Madrid  by  his  Prisoners, 
now  in  the  Museo  Moderno.  In  1903  he  won  a medal 
at  the  Paris  Salon.  In  1904  he  was  elected  a mem- 
ber of  the  Soci6t6  du  Salon  d’Automne. 


4i 


ARANDA,  J0S15  JIMfiNEZ.  Contemporary 
Spanish  painter.  Born  Seville,  1837;  died  1903. 

Pupil  Escuela  de  Bellas  Artes,  Seville.  Exhibited 
at  National  Exhibition  of  Fine  Arts,  Madrid,  1846. 


FORTUNY  Y CARBO,  MARIANO  JOSE 
MARIA.  Born  Reus,  Spain,  June  11,  1838;  died 
Rome,  November  21,  1874. 

Was  son  of  a carpenter.  Brought  early  to  Barce- 
lona, he  entered  the  Escuela  de  Bellas  Artes,  where 
he  immediately  distinguished  himself.  Aside  from  the 
instruction  of  that  school,  he  was  taught  by  Claudio 
Lorenzale.  He  gained  in  1857  the  pension  for  study 
at  Rome  opened  to  competition  by  the  Provincial 
Assembly.  This  pension  was  continued,  that  Fortuny 
might  paint  for  it  the  Spanish  War  in  Morocco  from 
1859  to  1860.  The  result  of  his  stay  with  the  army  w’as 
a wonderful  series  of  paintings,  sketches,  and  studies. 
Fortuny  began  in  Rome,  and  ended  in  Paris  in  1876, 
the  painting  La  Vicaria,  the  painting  which  first  won 
for  the  artist  general  recognition  and  for  which  Meis- 
sonier  himself  posed.  Fortuny  had  marvellous  skill 
in  combinations  of  the  most  intense  colors. 

CANALS  Y LLAMBl,  RICARDO.  Ricardo 
Canals,  a contemporary  Spanish  painter.  Born  in 
Barcelona,  December  11,  1876. 

Pupil  of  Escuela  de  Bellas  Artes,  Barcelona.  He 
was  one  of  the  founders,  and  is  president  of  the  society 
Salon  de  las  Artes  y de  los  Artistas,  which  holds  annual 
exhibitions  at  Barcelona.  Canals  is  distinguished  by 


42 


the  delicacy  and  harmony  of  Ills  coloring.  His  works 
present  by  preference  scenes  characteristic  of  his 
country.  A special  feature  among  his  subjects  is  the 
grouping  of  babes  on  the  lap  of  their  mother. 


MADRAZO  Y GARRETA,  RAIMUNDO.  Son 
of  Federico  Madrazo  v Kuntz.  Born  in  Rome,  1841. 
Resides  in  Paris. 

A pupil  of  his  father  and  of  the  Academia  de  San 
Fernando  and  later  of  Cogniet  in  Paris.  Exhibited 
at  Seville  in  1868  The  Arrival  in  Spain  of  the  Body 
of  the  Apostle  St.  James.  Won  a first  medal  at  the 
Universal  Exposition  of  1878  in  Paris,  where  he  ex- 
hibited many  paintings. 


ZULOAGA,  IGNACIO.  Born  July  26,  1870,  at 
Eibar,  Guipuzcoa.  Resides  54  Rue  Caulaincourt, 
Paris. 

For  sketch  see  Catalogue  of  Paintings  by  Ignacio 
Zuloaga,  exhibited  by  the  Hispanic  Society  of  America, 
March  21  to  April  11,  1909,  with  introduction  by 
Christian  Brinton.  The  Hispanic  Society  of  America, 
New  York,  1909. 


SOROLLA  Y BASTIDA,  JOAQUIN.  Born  Va- 
lencia, February  27,  1863.  Resides  Obelisco  13-15, 
Madrid. 

For  sketch  see  Catalogue  of  Paintings  by  Joaquin 
Sorolla  y Bastida  exhibited  by  the  Hispanic  Society 
of  America,  February  8 to  March  8,  1909,  with  intro- 


43 


duction  by  Leonard  Williams.  The  Hispanic  Society 
of  America,  New  York,  1909. 


SANCHEZ  PERRIER,  EMILIO.  Born  in  Seville 
and  a pupil  of  Eduardo  Cano.  Distinguished  as  a 
landscape  painter.  Honorably  mentioned  at  the 
Paris  Exhibition  in  1886,  and  the  recipient  of  a medal 
there  in  1889. 


